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#166
11-01-2013, 12:30 PM
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Thanks, Nemoman!
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#168
11-03-2013, 01:33 AM
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Super cool. Thanks for the photos. Looks like it's going to sound BIG!
__________________
1930 Martin OM-28 2017 LeGeyt Parlor 2021 LeGeyt CLM Red/Tree 2021 Kostal MDW German/Pernambuco
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#169
11-03-2013, 07:58 AM
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Quote:
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#170
11-03-2013, 07:59 AM
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Quote:
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#171
12-07-2013, 11:42 AM
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Todd, something I've been meaning to ask you. It looks like your relocated soundhole is a little smaller than usual (maybe 3" in diameter?). How, if at all, do you think that affects volume compared to the typical 4" diameter (~12 sq inches)?
Is it necessary to have as much of opening as is traditional? Thanks.
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#172
12-07-2013, 12:34 PM
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The smaller hole and the location further from the center of the box would both lower the pitch of the air resonance. However, these effects are offset (essentially cancelled out, more or less) by the side soundhole.
These statements certainly comprise some oversimplification, but a more exacting analysis than that would be a hopeless exercise in baffling complexity.
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#173
03-14-2014, 05:03 AM
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This project has been back-burnered for a while, but I'm back at it now. The customer wants an arm rest, so here it is being made. (Everything you see here, except the router, is taped down to the table with double-sided tape.)
 The underside needed to be excavated so that only the edge contacts the edge of the guitar.  A little sanding after routing.  After a lot of hand work -- carving, sanding, and polishing -- here it is completed.  The arm rest will add to the comfort of playing and keep the player's arm off the top, allowing the top to vibrate more freely (how much difference this actually makes for the sound is debatable, but it sure can't hurt) -- without reducing the size of the top, as a beveled-type armrest would.  I think it dresses up the guitar nicely. The ebony will be reflected by the ebony fretboard. Also, the curves at the ends are the same radius as the curve at the end of the FB where it's cut out for the sound hole. 
Last edited by Todd Rose; 01-17-2016 at 09:33 PM.
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#174
03-14-2014, 05:14 AM
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On to fretting...
Here I'm nipping the fret tangs with the fret tang nipper...  ...so that the fret ends go over the fretboard binding, while the tang seats in the slot.  All 22 frets cut to length and tangs nipped.  The nipper doesn't cut the tang quite flush with the underside of the fret crown, so a little filing is necessary.  This one is filed flush. Now to do that 43 more times!  Pressing the frets in on the drill press.  After carefully checking to be sure all frets are seated properly, the tops are marked with a sharpie...  ...then leveled with a dead-flat sanding block.  Since the fretboard was already carefully leveled and the frets carefully pressed in, the frets only needed a tiny bit of leveling, as evidenced by just a little of the red marker removed down the center of each fret crown. They probably didn't really even need leveling at all, but this assures me that they're perfect. 
Last edited by Todd Rose; 01-18-2016 at 08:05 AM.
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#175
03-14-2014, 05:15 AM
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And now the fret ends are trimmed off, then filed.
  Here I've just finished wicking CA glue under all the frets. This is insurance against frets coming loose. (Some believe it also improves tone by filling the remaining space in the fret slot, thereby making a more solid fretboard. A plausible theory.)  After quite a bit more painstaking work, the frets are all dressed and polished.  Next, some final sanding on the neck, and then on to pore filling! Last edited by Todd Rose; 01-18-2016 at 08:08 AM.
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#176
03-14-2014, 06:01 AM
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Beautiful! Thanks for sharing.
__________________
1930 Martin OM-28 2017 LeGeyt Parlor 2021 LeGeyt CLM Red/Tree 2021 Kostal MDW German/Pernambuco
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#177
03-14-2014, 02:47 PM
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Thanks, Matthew!
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#178
03-25-2014, 11:29 AM
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With an application of pore filler to the back, the beautiful color of the rosewood begins to reveal itself.
 
Last edited by Todd Rose; 01-18-2016 at 08:09 AM.
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#179
05-13-2014, 12:20 PM
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Every guitar maker, it seems, will tell you that the finishing process is the most fraught with challenges and problems. On this guitar, I'm doing a finish that's new to me (a brushed-on high gloss varnish). Already, I've faced challenges and had problems to solve in the pore filling process (but I've learned a lot, and solved all the problems... so far). Finally, I've gotten to this point: the pores are filled and the first coat of varnish (just a thin seal coat) is on.
  
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